IPCNY will present Published By The Artist, an exhibition of self-published editions by a varied host of professional printers organized by Erik Hougen. The works will be on view at 508 West 26th Street, 5th Floor, from September 10 through September 17, 2015. Most editions are priced at $300 or less, with proceeds of all sales to be shared equally by the artist and IPCNY. Some one-hundred artists will be included in this exhibition.

Jacob Lewis Gallery is pleased to present “On Our Hands,” an exhibition of new paintings by Shepard Fairey. The exhibition will be on view September 18—October 24, with a public opening reception September 17, 4-8pm.

“On Our Hands” is the first solo exhibition of Fairey’s paintings in New York City since 2010. In his new body of work, Fairey builds up the surface of his canvas in densely collaged relief, calling to mind a city wall layered with decades of distressed flyers. The paintings reflect on contemporary issues facing our global community: political corruption, environmental apathy and abuse of power. The exhibition is marked by a focus on corporate influence in government and the resulting inaction toward environmental concerns by the powers that be.

“I am incredibly honored to show at Jacob Lewis Gallery. I have known Jacob for years, and he has always maintained an insightful understanding of my aesthetics, techniques, and philosophies,” says Fairey on his inaugural exhibition at his representing gallery in New York. In cooperation with the gallery, a concurrent survey of Fairey’s newest print editions will be on view at Pace Prints one floor below.

Shepard Fairey first gained prominence while still a student at the Rhode Island School of Design, where he created his seminal “Andre the Giant Has a Posse” sticker. Fairey, taking notes from conceptual artist Barbara Kruger’s white-on red type design, transformed the original sticker into an internationally recognized symbol of the OBEY brand. Over the past two decades, Fairey has created indelible paintings, illustrations, fine art editions and murals critiquing the ever-changing political landscape. Influenced by Russian Constructivism, Chinese Communist propaganda and American advertising, Fairey’s work exemplifies a lifelong experiment in phenomenology and a simultaneously hopeful and damning call for independent thought in America.

The exhibition coincides with Fairey’s new monograph “Covert to Overt,” published by Rizzoli. A limited number of copies will be available for advance purchase at Jacob Lewis Gallery before the book’s release date.

Joshua Liner Gallery presents the third edition of Summer Mixer, a spirited group exhibition of emerging and established contemporary artists. For some, this will be their debut offering with the gallery, while others continue to foster a growing relationship with the exhibition space. An extensive scope of artistic mediums is covered in this exhibition including installation, sculpture, mixed media, and painting. Summer Mixer opens with an artist’s reception on Thursday, July 16, 2015.

Berkeley-based artist Libby Black will present a selection of paintings and sculptures exploring commercial products, luxury designer items, personal possessions, and their influence in shaping an individual’s identity. EZ Duz It—a guitar case constructed of paper and acrylic paint—bears a collection of bumper stickers with political statements, fashion labels, and positive affirmations. The artist explains, “Usually you can tell a person by their car and their bumper stickers… a little bit of fashion, pop culture, political statements and affirmations. It’s a mix of what I like, and somewhat of a self-portrait, although I feel all of my work is like that.”

Also working in a three-dimensional medium, Brooklyn-based artist Daniel Joseph presents a new installation: When Actually That Was All That Was Really Happening. This piece exists in two stages and forms, alluding both physically and conceptually to Marcel Duchamp’s seminal works The Bride Stripped Bare by Her Bachelors, Even (The Green Box), and The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Like Duchamp’s Green Box, the first stage of Joseph’s work consists of a wooden box filled with 365 notes and drawings written to an ex-lover over the course of one year. Based on the Ebbinghaus curve (or forgetting curve), the writings are visually displayed in stage two between plexiglass panels, mirroring Duchamp’s The Large Glass. Joseph explains, “The result is a collection of real notes inside a fictional story… profane love as imagined inside something beautiful, yet imperfect, falling apart. A testament and celebration of what was and remains unfinished.”

Geometric abstraction and painterly exploration is central to the work of Elise Ferguson, Antonio Adriano Puleo, and Eric Shaw. Ferguson’s works on MDF panel combine painting and relief printing, exploring simple patterns with circles and rigid lines to form dynamic, optical compositions. While abstracted, the emerging patterns in Ferguson’s work often resemble naturalistic elements such as lighting fixtures, linoleum floor designs, electric stovetops, and industrial packaging. Antonio Adriano Puleo’s abstract grid paintings and sculptures explore form, color, and process. Each work in the artist’s twelve by nine-inch works on panel bears an independent set of colors and structures. Unified by their identical size, these grid paintings reveal the artist’s dedication to the endless possibilities of simple patterns, form, and color combinations. Eric Shaw merges elements of geometric and gestural abstraction in his vibrant works on canvas. Composing sketches on a smartphone drawing app, the artist translates fragments of these doodles onto canvas. Shaw explains, “I am interested in capturing a moment, where all the forms are still but feel as if they were just in motion. In some of the more complex compositions, several sketches are incorporated, and a landscape compiled of forms interact and create tension.”

Contrasting the angular geometric work of the aforementioned artists, Brooklyn-based Jane LaFarge Hamill explores a gestural, impasto style of painting. Hamill’s abstract portraits on canvas capture the suggestion of a human figure with faces that are skewed and unrecognizable through her thick slabs of paint and raised brushstrokes. The most recent work from the artist examines emotion and identity as moving, breathing, and flowing human attributes, constantly changing form.

Brooklyn-based artist Kristen Schiele mixes collage, screen-printing, and painting to create multi-layered planes in her patterned, angular works on canvas. Combining snippets of architectural structures, diamond Navajo patterns, images of German B-movie actresses, seven point stars, and high contrast between dark tones and neon hues, Schiele’s works are brimming with electric energy. The work pulsates with various references to the many places the artist has lived around the United States and Germany. Describing her layered process, Schiele notes “The abruptness of a cut panel or a clash in painting, drawing, and printmaking techniques keeps the practice of painting exciting to me, and keeps the picture plane jumping around.”

The otherworldly bronze sculptures by San Francisco artist Mario Martinez (Mars-1) are informed by cosmology, extraterrestrial theories, scientific phenomena, and patterns occurring in nature. The artist’s round, molecular shaped bronzes are detailed with concentric circular patterns reminiscent of Fibonacci sequences, with evenly spaced impressions that are both naturalistic and very alien.

Lastly, Barcelona-based artist Michael Swaney’s vivid works on canvas present fantasy worlds filled with geometric shapes, mosaic patterns, and clown-like figures. Evoking influences of Art Brut and its pioneer Jean Dubuffet, Swaney’s joyful use of line and sunny color palette exude the playfulness and innocence of a child’s drawing: heartwarming and uplifting.

This survey of the visionary works by Paul Laffoley will include, for the first time, models of utopian speculations related to the architectural problems that we currently face. The show begins with perhaps his most puzzling incidence of genuine predictive powers as evidenced by the painting The City Can Change Your Life, 1962, to the current cycle of works related to the Guggenheim Fellowship (2009) project entitled Building the Bauharoque.

“I have been more interested in the nature of Utopian Space in terms of how to describe it and how to create it. In this regard, I feel that I harken back to reconsider the intentions and agenda of The Bauhaus, The Constructivists, The Deutscher Werkbund, etc., from the early part of this century. In doing so, it is with the belief that I am helping in some way to keep alive the “flame” of these Modernists (almost extinguished by the ‘Post-Modernists’), a flame if properly tended could burst into the ‘Fire of the Future’ which could light our way until the golden dawn of The Bauharoque.” -PL (1992)

Following a formal education from Brown (1962) in the classics, and architectural studies at Harvard (1963), Laffoley would begin to assimilate and systematically cross-pollinate his various strands of intellectual inquiry. In search for expanded opportunities, Laffoley came to New York to work with the visionary Frederick Kiesler, and was further recruited for viewing late night TV for Andy Warhol in exchange for a place to sleep. By the mid sixties, Laffoley began to experiment with the inclusion of written texts layered over mandala like compositions inspired by Andy Warhol’s late night television programming between 1 and 5 a.m., as well as his growing interest in eastern mysticism. By 1971, Laffoley’s inclusion of text, whether specific in language or scientific notation, required the viewer to observe as well as read the works. The Boston Visionary Cell (1971) is a crucial facet in understanding Laffoley’s work and method. As stated in its founding charter, it was created “to develop and advance visionary art”:

“My personal mission as an artist has always been to explore Utopic Space in terms of both sensibility and it’s ontic status. I have developed this task by means of symbols, perhaps the only way an individual can approach such a project.” -PL (1971)

Laffoley’s endeavors evoke freedom from the limitations of time and space, which imprison our curiosity about the infinite possibilities beyond the radius of our sight and orientation. At times, his oscillations between the sublime and grotesque approach a metaphysical intensity.

Lori Bookstein Fine Art is pleased to announce an exhibition of Provincetown paintings by Paul Resika. This is the artist’s seventh solo show at the gallery. This exhibition will coincide with Paul Resika: Paintings, 1947-2014 at the Provincetown Art Association and Museum, Provincetown, MA, on view from June 26 – August 30, 2015.

This exhibition will be comprised of paintings from several decades of the artist’s career. The earliest work in the show comes from the late 1940s in which the artist was working in Provincetown under the auspices of Hans Hofmann. Other canvases in the show include the celebrated “Provincetown Pier” paintings from the 1980s, his “Vessels” series from the 2000s, as well as his most recent “Buoy” paintings.

Best known for his paintings of iconic Provincetown forms, Paul Resika’s influences include Abstract Expressionism, Realism, and Impressionism. “Resika is recognized for the buoyancy of his palette and the basic shapes of his subjects, which are pared down to the simplest geometric forms—neat little houses in profiles and swishes of color that define the boats. His paintings are just a suggestion of a scene, but they are enough to spark a memory, evoke a mood, or illuminate a dream,” writes artist and critic Deborah Forman.

Paul Resika (b. 1928, New York, New York) studied under Hans Hofmann as a teenager in New York and Provincetown before departing for Venice and Rome in 1950 to study the old masters. After casting aside Hofmann’s abstract principles, his Italian palette turned sober and descriptive. Upon his return to the United States, Resika devoted himself increasingly to the exploration of light and color, and the synthesis of abstraction and representation. Over his eight decade-long career, Resika has exhibited at the Peridot Gallery, Graham Modern, Long Point Gallery, Provincetown, Berta Walker Gallery, Provincetown, Hackett-Freedman Gallery, San Francisco, and Salander-O’Reilly Galleries, New York. Resika splits his time between New York and Truro, Massachusetts.

Resika’s work is included in the collections of the Hood Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the Smithsonian American Art Museum, the Whitney Museum of American Art, and the Addison Gallery among numerous others. He is the recipient of a Guggenheim Fellowship (1984) and has been elected Academician at the National Academy of Design (1978) and the American Academy of Arts and Letters (1994).

Paul Resika: Provincetown in New York will be on view from July 9 – August 7, 2015. An opening reception will be held on Thursday, July 9th from 6:00-8:00 pm. Gallery hours are Monday through Friday, 10:30 am to 6:00 pm. For additional information and/or visual materials, please contact the gallery at (212) 750-0949 or at info@loribooksteinfineart.com. For more information on the artist’s exhibition at the Provincetown Art Association and Museum, please visit paam.org.

Thatcher Projects is pleased to present H O T S P O T S, the gallery’s annual summer group exhibition featuring a selection of works that highlight the current studio practice of artists across the gallery program. Several artworks will introduce subtle shifts in the imagery or process of the artists, often times both, exhibited for the first time in New York.

Some of the artists, including Nobu Fukui, Teo Gonzalez, and David Mann, are relatively new to the gallery despite working in New York for several decades. In this exhibition, the gallery introduces Gonzalez’ “arch” paintings. Working from a loose, organic grid, Gonzalez evokes a moire effect as the cell-like spaces appear to expand and compress. David Mann adds linear elements that accompany his more familiar forms, directing the viewers’ eyes toward focal points throughout his ethereal compositions.

An IKEA fusion table and chairs set is reimagined as unique and culturally invaluable by Australian artist Gary Carsley, who wraps the prefabricated furniture with a depiction of extinct creatures and plants. The image, constructed from hi-resolution photographs of stone, serves as an homage to these vanished species while asking questions as to their demise.

Paintings by Carlos Estrada-Vega, Kevin Finklea and Jus Juchtmans, awash in color, may appear monochromatic at first. However, the careful layering of pigment by Juchtmans and Finklea prove that they are in fact complex shifts that are constantly in action.

Marianne Boesky Gallery is pleased to present No Vacancies, a group exhibition of works by Miyoko Ito (1918-1983), Phillip King (b. 1934), Robert Morris (b. 1931), and Lisa Williamson (b. 1977), organized by Kristen Becker. Featuring sculpture, oil paintings, and works on paper from the 1950s to the present, this show presents four artists whose works play with the viewer’s experience of form, density, depth and perceptual access. No Vacancies will be on view from June 26 through August 7, at 509 West 24th Street.
Rooted in a framework that includes iconic architecture, modernist presentations of the figure, and the artists’ own physical proportions, these works are grounded in specific sources but ultimately convey a more universal sense of spatial and figurative recognition. Dichotomies between angle and curve, architecture and body, presence and absence begin to emerge and slowly meld. Each work suggests an implied human occupancy, whether through the viewer’s spatial activation or through a representative association with the human form itself.

Phillip King’s sculptures are simultaneously classical and modern. Though known for his use of color, in the early 1960s King began exploring stripped-down forms in basic white plaster. Notably, this enduring medium was used as a structural and decorative material on the surface of the Egyptian pyramids; King visually reinforces that history by consistently using triangular forms as in Drift and Untitled I. The angular wood constructions highlight the undulations of the applied plaster composition. Sky Anchor and Window Piece follow an equally iconic tradition in their exploration of both positive and negative space. These works inhabit and shape the surrounding space, playfully encouraging the viewer to transgress boundaries and visually activate the sculpture.

Miyoko Ito’s paintings seduce the viewer, presenting dream-like atmospheres that exist in the space between abstraction and architectural rendering. The compositions hover, giving the sensation of a place that holds no fixed location. Ito’s color palette reinforces these works’ beguiling haze, as neutral backgrounds give way to brightly saturated forms, void of figures but filled with an intriguing presence. The artist’s clear nod to Surrealism combines with her place amongst linear Chicago Imagists to create wholly new and alluring environments in which to linger.

Throughout his career, Robert Morris has pursued a relentless physicality in his sculpture, drawings, dance, performance, and installation. He often employs his own body as an inherent system of rules, using his height and other measurements as a marker. The title of Tub suggests the containment of a body and its potential submersion, though the work’s leaning angle prompts an open reading as a protective structure or even an architectural apse. A similar ambiguity is visible in Morris’ labyrinth drawings as the mysterious compositions continue off the page. Vetti V provides a more direct anatomical reference. The title refers to the House of the Vettii, one of the most luxurious homes preserved in the ruins of Pompeii and notorious for its display of overtly sexual metaphors of abundance. The suggestive composition of the sculpture presents a literal counterpoint to the male display of its eponymous origin, while its grand scale and the physicality required to shape and transform the felt makes the artist’s own body a ghostly presence.

Lisa Williamson investigates mass and volume, prodding the viewer to surpass perceptual expectation and arrive at a restful state of comfortable ambiguity. Each form cuts into the surrounding space, creating lines and angles that are at once familiar and peculiar. Williamson diligently handles wood sculptures that reveal organic flaws and aberrations, resulting in an almost putty-like surface when painted. These works appear soft to the touch, a supple texture that belies their weight and density. Wavy Dimension (June) extends its curves upward with elegant and totemic intention while staying grounded in Williamson’s winsome sense of play. Long Dimension (Gates) sets the stage for personal and visual framing, demonstrating intrinsic formal restraint while providing an entry for insinuated passage. These suggestive interactions extend to Tender Dimension (Elephant) and Heavy Dimension (Tomb); their awkward height, subtly widening dimensions and satisfying sense of density and mass evoking both the elemental and the domestic. At once monumental and lively, Williamson’s works disclose the activated potential of solid form, both in space and in the mind’s eye.

For further information regarding No Vacancies, please contact Kristen Becker at kristen@boeskygallery.com or 212.680.9889. For press inquiries, please contact Elisa Smilovitz at elisa@mcclellandco.com or 551.486.3273.

Matthew Marks is pleased to announce What Nerve! Alternative Figures in American Art, 1960 to Present, the next exhibition in his three 22nd Street galleries.

Focusing on four groups of artists practicing away from the cultural capitals of New York and Los Angeles, What Nerve! presents an alternative history of American art since the 1960s. As the exhibition’s curator, Dan Nadel, has written, “When confronted with a system that seems impenetrable, outsiders tend to band together.”

The Chicago-based Hairy Who exhibited together from 1966 to 1969. Its members were Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum. Funk Art took root in the San Francisco Bay Area in the 1960s and 1970s and is represented in the exhibition with works by Jeremy Anderson, Robert Arneson, Joan Brown, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, and Peter Voulkos. In Ann Arbor, Mike Kelley, Cary Loren, Niagara, and Jim Shaw formed Destroy All Monsters as students in the 1970s. Forcefield members Mat Brinkman, Jim Drain, Leif Goldberg, and Ara Peterson, active in Providence from 1996 to 2003, created fictional personas complete with pseudonyms and elaborate garments.

This exhibition reassesses the artists associated with these four groups, providing a new understanding of their influence on contemporary art history. Distinct as their artworks are in style, period, and place, the artists all share a common set of concerns. Inspired by a wide array of influences including folk art, advertising, primitive art, comic books, and fetishism, they all favor figurative imagery that diverges from the predominant artistic style of the time.

The groups presented here emerged from close collaboration and, in the case of Destroy All Monsters and Forcefield, experimental living arrangements. All of them embrace alternate aesthetics and unconventional media. Lawn chairs, purses, comic books, chain metal shrouds, and a video installation join rarely seen paintings and drawings.

The Collected Hairy Who Publications 1966 – 1969, the first book to gather the artist’s books of the Chicago-based Hairy Who into a single volume, will be published on the occasion of the exhibition. Accompanying it are a scholarly essay and an extensive archive of Hairy Who posters, exhibition photographs, and ephemera.

A version of the exhibition was presented last fall at the RISD Museum in Providence, RI, which was accompanied by a fully illustrated catalogue with texts by Dan Nadel, Robert Cozzolino, Dominic Molon, Roger Brown, John Smith, Naomi Fry, Michael Rooks, Nicole Rudick, and Judith Tannenbaum.

What Nerve! Alternative Figures in American Art, 1960 to Present will be on view at 502, 522, and 526 West 22nd Street from July 8 through August 14, 2015, Monday through Friday, from 10:00 AM to 6:00 PM.

For further information, please contact Ted Turner at (212) 243-0200 or ted@matthewmarks.com.

Matthew Marks is pleased to announce What Nerve! Alternative Figures in American Art, 1960 to Present, the next exhibition in his three 22nd Street galleries.

Focusing on four groups of artists practicing away from the cultural capitals of New York and Los Angeles, What Nerve! presents an alternative history of American art since the 1960s. As the exhibition’s curator, Dan Nadel, has written, “When confronted with a system that seems impenetrable, outsiders tend to band together.”

The Chicago-based Hairy Who exhibited together from 1966 to 1969. Its members were Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum. Funk Art took root in the San Francisco Bay Area in the 1960s and 1970s and is represented in the exhibition with works by Jeremy Anderson, Robert Arneson, Joan Brown, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, and Peter Voulkos. In Ann Arbor, Mike Kelley, Cary Loren, Niagara, and Jim Shaw formed Destroy All Monsters as students in the 1970s. Forcefield members Mat Brinkman, Jim Drain, Leif Goldberg, and Ara Peterson, active in Providence from 1996 to 2003, created fictional personas complete with pseudonyms and elaborate garments.

This exhibition reassesses the artists associated with these four groups, providing a new understanding of their influence on contemporary art history. Distinct as their artworks are in style, period, and place, the artists all share a common set of concerns. Inspired by a wide array of influences including folk art, advertising, primitive art, comic books, and fetishism, they all favor figurative imagery that diverges from the predominant artistic style of the time.

The groups presented here emerged from close collaboration and, in the case of Destroy All Monsters and Forcefield, experimental living arrangements. All of them embrace alternate aesthetics and unconventional media. Lawn chairs, purses, comic books, chain metal shrouds, and a video installation join rarely seen paintings and drawings.

The Collected Hairy Who Publications 1966 – 1969, the first book to gather the artist’s books of the Chicago-based Hairy Who into a single volume, will be published on the occasion of the exhibition. Accompanying it are a scholarly essay and an extensive archive of Hairy Who posters, exhibition photographs, and ephemera.

A version of the exhibition was presented last fall at the RISD Museum in Providence, RI, which was accompanied by a fully illustrated catalogue with texts by Dan Nadel, Robert Cozzolino, Dominic Molon, Roger Brown, John Smith, Naomi Fry, Michael Rooks, Nicole Rudick, and Judith Tannenbaum.

What Nerve! Alternative Figures in American Art, 1960 to Present will be on view at 502, 522, and 526 West 22nd Street from July 8 through August 14, 2015, Monday through Friday, from 10:00 AM to 6:00 PM.

For further information, please contact Ted Turner at (212) 243-0200 or ted@matthewmarks.com.

Matthew Marks is pleased to announce What Nerve! Alternative Figures in American Art, 1960 to Present, the next exhibition in his three 22nd Street galleries.

Focusing on four groups of artists practicing away from the cultural capitals of New York and Los Angeles, What Nerve! presents an alternative history of American art since the 1960s. As the exhibition’s curator, Dan Nadel, has written, “When confronted with a system that seems impenetrable, outsiders tend to band together.”

The Chicago-based Hairy Who exhibited together from 1966 to 1969. Its members were Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum. Funk Art took root in the San Francisco Bay Area in the 1960s and 1970s and is represented in the exhibition with works by Jeremy Anderson, Robert Arneson, Joan Brown, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, and Peter Voulkos. In Ann Arbor, Mike Kelley, Cary Loren, Niagara, and Jim Shaw formed Destroy All Monsters as students in the 1970s. Forcefield members Mat Brinkman, Jim Drain, Leif Goldberg, and Ara Peterson, active in Providence from 1996 to 2003, created fictional personas complete with pseudonyms and elaborate garments.

This exhibition reassesses the artists associated with these four groups, providing a new understanding of their influence on contemporary art history. Distinct as their artworks are in style, period, and place, the artists all share a common set of concerns. Inspired by a wide array of influences including folk art, advertising, primitive art, comic books, and fetishism, they all favor figurative imagery that diverges from the predominant artistic style of the time.

The groups presented here emerged from close collaboration and, in the case of Destroy All Monsters and Forcefield, experimental living arrangements. All of them embrace alternate aesthetics and unconventional media. Lawn chairs, purses, comic books, chain metal shrouds, and a video installation join rarely seen paintings and drawings.

The Collected Hairy Who Publications 1966 – 1969, the first book to gather the artist’s books of the Chicago-based Hairy Who into a single volume, will be published on the occasion of the exhibition. Accompanying it are a scholarly essay and an extensive archive of Hairy Who posters, exhibition photographs, and ephemera.

A version of the exhibition was presented last fall at the RISD Museum in Providence, RI, which was accompanied by a fully illustrated catalogue with texts by Dan Nadel, Robert Cozzolino, Dominic Molon, Roger Brown, John Smith, Naomi Fry, Michael Rooks, Nicole Rudick, and Judith Tannenbaum.

What Nerve! Alternative Figures in American Art, 1960 to Present will be on view at 502, 522, and 526 West 22nd Street from July 8 through August 14, 2015, Monday through Friday, from 10:00 AM to 6:00 PM.

For further information, please contact Ted Turner at (212) 243-0200 or ted@matthewmarks.com.